Alexander Lavrentiev – Zaha Hadid and the Russian Avant Garde

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162 Kazimir Malevich, drawing from the book Suprematism, Vitebsk, 1920 the Guggenheim Museum confessed that the exhibition installation helped them to better understand Kazimir Malevich, Gustav Klutsis, or Vladimir Tatlin. Understanding by feeling the space. The exhibition defined their perception of the artistic world of the Russian avant garde. In the 1920s nobody thought of creating special environments such as this for works of art. Exhibitions looked as if objects were just taken out of the workshop. By the end of the twentieth century, it became a sort of rule for exhibitions to plan the installation so that avant-garde art could uncover its full potential. Zaha Hadid found an interesting solution in creating the environment on a larger scale than the art pieces themselves. The contrast of scales—the large scale of the installation and the smaller scale of the composition—creates the necessary tension to help the spectator find his place and his mode of perception in this environment. Quite
Kazimir Malevich, Suprematist Skyscraper, photomontage, 1925 often the exhibition architecture is a sort of huge three-dimensional artistic installation which speaks the same language as the objects it is incorporating. The last exhibition at Galerie Gmurzynska created another situation. Zaha Hadid created a dialogue through the ages with the artists of the Russian avant garde. I remember another exhibition where Zaha Hadid represented herself as an architect. It was a small exhibition at the VKhUTEMAS Gallery (which is now part of the Moscow Architectural Institute). The installation consisted of huge pneumatic forms reminiscent of the exponentially englarged iMac monoblocks of the late 1990s. The visitors were moving amidst these objects like they would amidst 163 Boris Korolev, drawing for the Temple of Communication of the People, 1919. Cubist sculptor Boris Korolev together with Nikolai Ladovsky were members of the Zhivsculparch (painting, sculpture, and architectural synthesis) group, organized in 1919 in Moscow within the architectural sub-department of the Department of Fine Arts of the People’s Commissariat for Education.
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Page 4 and 5: 160 The lines of the composition de
Page 8 and 9: Kazimir Malevich, Spatial Supremati
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Page 12 and 13: Nikolai Ladovsky, section of Collec

Alexander Lavrentiev – Zaha Hadid and the Russian Avant Garde

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